Fun Stuff > BAND
Wink Wink 2011 - A bit of a change this year
JimmyJazz:
13-Point Program to Destroy America - The Nation Of Ulysses (Dischord, 1991)
Quote from Allmusic
--- Quote ---A raging collection of songs preaching an ideology of insomnia, teenage rebellion, and sharp dressing, the Nation of Ulysses' 13-Point Program to Destroy America comes across as a blueprint for the complete overthrow of adult society in favor of one ruled entirely by the cool kids. Nearly every track on the album is played at breakneck speed, and the overall message is one of uprising. "A Kid Who Tells on Another Kid Is a Dead Kid" and "Cool Senior High School (Fight Song)" extol the virtues of kids sticking together to exclude those not fit for the glorious new society, namely grown-ups and squares. All the songs are punk gems, and after a couple of listens the revolutionary rhetoric starts to sounds pretty damn exciting, maybe because it's not entirely clear whether or not the Nation of Ulysses is serious or just playing a joke on all the indie rock hipsters. Either way, it's hard for anyone to not enjoy songs like "Look Out! Soul Is Back" and "Today I Met the Girl I'm Going to Marry." The revolution might not be here quite yet, but when it comes, be sure to have this album as proof to your worthiness.
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I Know You Fine, But How You Doin' - The Gories (Crypt, 1995)
Quote From Allmusic
--- Quote ---I Know You Fine But How You Doin' is a magnum opus of dirty brilliance. Dirty in the grunge-covered sense. Dirty in the back alley and sleepin' it off sense. As with their first LP House Rockin', the Gories employ a primitive backbeat of tom-toms, fuzzy guitars, and insomniac blues screams (distributed more democratically here by singer/guitarists Dan Kroha -- see also the Demolition Dollrods -- and Mick Collins -- see also Blacktop -- than on the Gories' debut, House Rockin'). Recorded in Memphis at Easley Recording in 1990 with legendary recluse/genius Alex Chilton at the boards, I Know You Fine is ever-so-slightly more "produced" than the debut. But the songwriting, thankfully, never leaves the gutter far behind. Better still, the Gories make you believe that it's all happened to them recently enough to be a painful enough memory to necessitate writing a blues-riff song. Muted howling, cavernous guitars, and throbbing drums are always half a step from simultaneously disappearing and blowing up in your face. The main benefit of a non-D.I.Y. production on this outing is atmospheric, after-hours gems such as "Six Cold Feet," "Early in the Morning," and "Smashed." The desperation quotient is taken up by such tunes as "Stranded," "Goin' to the River," and "Nitroglycerine." I Know You Fine is perhaps the Gories' most focused vision of urban punk blues. As an added bonus, the Crypt reissue version features more than nine extra songs culled from both singles and the original track listing of House Rockin' (perhaps Crypt didn't anticipate reissuing both records). With the added tracks, this reissued version of I Know You Fine But How You Doin' is the one Gories recording to buy if you must only buy one.
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The Perfect Prescription - Spacemen 3 (Glass, 1987)
Quote from Allmusic
--- Quote ---Drawing together some earlier material and a slew of new songs, Spacemen 3 tied everything together on the brilliant Perfect Prescription, the clear point of departure from tribute to psych inspirations and finding its own unique voice. Planned as a concept album, Perfect Prescription works where so many other similar efforts failed due to the strength of the individual songs, as well as the smart focus of the concept in question -- a vision of a drug trip from inception to its blasted conclusion, highs and lows fully intact. The bookending of the album makes that much clear -- "Take Me to the Other Side" is a brash, exultant charge into the joys of the experience, a sharp, tight performance. "Call the Doctor," meanwhile, is a pretty-but-wounded conclusion, husky singing and a drowsy mood detailing the final collapse. The many highlights in between beginning and end are so striking that the album is practically a best-of in all but name. Sonic's eventual work with Spectrum and E.A.R. gets clearly signaled via the majestic reprise of the Transparent Radiation single, here introduced by the swirling flange of an edited "Ecstasy Symphony," also originally from that release. Sonic's breathless delivery of the Red Krayola classic, combined with the elegant arrangement, is a marvel to hear. "Walkin' With Jesus," meanwhile, is practically the birth of Spiritualized, the much different earlier takes now become a reflective combination of acoustic guitar, two-note keyboard lines, and Pierce's yearning, aching desire. The intentionally nasty flip to that is the storming charge of "Things'll Never Be the Same," a call to arms (or injecting something into them) that's as disturbing as it is energetic, the compressed, violent rage of feedback and rhythmic charge a gripping listen. Guest performers from the Jazz Butcher family tree, including Alex Green on sax, help expand the record's sonic range even further. Further reissues include a rotating series of bonus tracks from contemporary singles.
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KvP:
Wbeeza - Void
Wouldn't you know it, it's House music. House music with a pretty deep variation in track-to-track sound, no less. "The World Is Yourz" is quite reminiscent of Fred Falke / Alan Braxe's "Links 'n' Rings" - superb House production behind an old school MC, just the way it was meant to be.
--- Quote from: Boomkat ---'Void' is probably one of the most anticipated House albums by a UK producer in years. It's also Wbeeza's debut LP and places him as a promising British answer to Theo Parrish in many respects. His career trajectory thus far has seen his tracks played by a range of cats from Panorama Bar's Tama Sumo, to fellow South London figurehead Cooly G, via celebrated slots at the Freerotation festival and gigs across Europe. The seventeen tracks of 'Void' displays an appreciation for and dedication to the spectrum of deep house music, taking in everything from Dilla-esque HipHop with 'The World Is Yourz' feat. Chico Santiago, to moonlit vibes in 'Let Me Know' feat. Diyana, and abstract, heady beatdown experiments such as 'Sarar' or 'Day By Day', with a couple of proper floor controllers in 'Tru My Veins' and 'Variations'. The vibes run deeep on this one...
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Cyclobe - Wounded Galaxies Tap at the Window
Stephen Thrower and Ossian Brown, longtime associates / live accompanists of Coil, as Cyclobe. They really hit upon that classic ambient industrial sound that Coil captured around the turn of the millennium.
--- Quote from: Brainwashed ---There are very real reasons why Cyclobe albums are so infrequent, as Ossian Brown and Stephen Thrower seem to deliberately eschew or expertly conceal most of the tools that similar artists rely upon (improvisation, chance/randomness, repetition, etc.) in favor of a constantly shifting and deliberate abstract narrative. There is a purposefulness and articulation to Cyclobe’s brand of psychotropic mindfuckery that is very much their own. Their best work (such as this album) feels like a twisted, meticulously composed infernal symphony or an ambitiously nightmarish film soundtrack for a film that no one could possibly make. Wounded Galaxies evokes something far too extreme and abstract to capture with words and images: a deep, timeless, all-consuming cosmic terror.
Phantom Code
It is both fitting and remarkable that Brown and Thrower met through their associations with Coil. On one hand, there are enormous similarities between the two groups: a deep fascination with both the occult and obscure transgressive art, overlapping collaborators like Thighpaulsandra, the use of similar electronic textures, and so on. On the other hand, however, Cyclobe has wound up in such a completely different place that it is almost difficult to imagine that the two were ever intertwined. Cyclobe sounds like Coil's id allowed to run rampant. Ossian and Stephen certainly display a predilection for all things eerie and nocturnal, but they seem to be chasing an altogether more difficult, disturbing, snarling, and visceral vision. No one will ever confuse a Cyclobe album with ambient music.
That said, however, the first side of the album begins with some deceptively haunting and beautiful synthesizers that suggest otherwise. That feeling doesn't last long though, as "How Acla Disappeared From the Earth" quickly grows darker and more uncomfortable as more and more sounds fade in. It is one of the shorter works on the album, so it doesn't have much time to evolve; yet it features some truly wonderful gurgling and shivering weirdness in its periphery. The next song, "The Woods Are Alive with the Smell of His Coming," completely eclipses it though.
Cyclobe’s "17-minute Pagan opus" was actually debuted on its own last year as part of an exhibition at The Tate Gallery St. Ives and it is easy to see why: it is not only the centerpiece of the album, it may possibly the defining moment of the duo's career. It is built upon a simple, yet darkly exotic backbone of kalimba and Michael York’s pipes–a foundation that doesn’t change that much over the course of the piece, serving mostly as a rhythmic anchor for the surrounding maelstrom. The real excitement lies in what unfolds on top of it, as I am amazed at how many ingenious variations of "all hell breaking loose" Thrower and Brown are able to unleash: violent, discordant cello solos from John Contreras; squealing strings that sound like the swirling spirits of the damned; horrific orchestral cacophonies; and a deep creaking like the very fabric of the universe is straining and about to rupture. It is, quite simply, an utterly staggering work.
The album's second half again begins in much calmer, uncharacteristically droning fashion with "We'll Witness the Resurrection of Dead Butterflies," but its opening motif is quickly subsumed by Cliff Stapleton’s Arabic-sounding hurdy-gurdy permutations. The piece eventually reaches a bit of a lull before being torn apart by a violent series of apocalyptically crushing stabs of ugly harmony separated by quivering aftershocks. It feels like the actual earth is shuddering in terror–loud, unexpected, visceral, and awesome.
Gradually, the relentless bludgeoning gives way to some less alarming subterranean moans and rumbles and a delicately haunting piano theme takes shape over a buzzing bed of squiggling electronics. The piano piece is "Sleeper," but it is difficult to tell quite where it officially begins due to my inability to pinpoint the moment of segue. "Sleeper" is something of an aberration for the album, as it actually features some odd and creepy childlike vocals from Ossian Brown. In all other respects though, it fits in quite nicely, as the piano gradually becomes more chromatic and unmoored and the underlying music begins to lurch and swell thunderously. The title piece follows, perfectly closing the album by mangling a simple drone piece into massive swells and jarring paroxysms of dissonance. It actually has a disturbingly post-coital feel to it at times. I am curious about whether or not that was intentional, as Thrower has stated in the past that he feels that there is a "capricious sensuousness" to Cyclobe's music. It is difficult and a bit unnerving to try to imagine sex as deviant and alarming as Wounded Galaxies though.
The whole thing adds up to a rather overwhelming, unnerving, and utterly absorbing listening experience. I am fairly certain that my heart rate increased quite a bit over the course of the record, as there was no way to remain calm in the face of such disturbed content and violent dynamic shifts. It was kind of like being attacked, actually. That probably isn't an experience that appeals to most people, but Wounded Galaxies is certainly one of the most immediately striking and singular albums that anyone will release this year (and definitely the only album that can be described with phrases like "rapturous cosmic convulsion"). I don't think Brown and Thrower are particularly concerned about appealing to "most people" anyway. Despite all of its more overt charms, however, I suspect Galaxies’ greatest achievement may lie in its sheer depth and complexity: there are all kinds of layers and textures that I was far too shell-shocked to appreciate during my first several listens. This is a very hard album to fully process and I don't expect to get tired of it anytime soon.
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Master Eveleigh - Fascinating Action
Somewhat perplexing drill'n'bass glitch music (think Lexaunculpt or Drukqs-era Aphex Twin), buzzing and seething all the way through.
--- Quote from: Boomkat ---'Fascinating Action' is the 2nd release on Lab Beat, and the first and only from Mr Master Eveleigh. He's obviously spent a fair bit of time listening to Squarepusher circa 'Come To Daddy' and AFX's 'Girl/Boy' song, judging by 'Chat Perdu (Pornography Mix)' and this same obsession with trickily enhanced rhytms shines through in the Rephlexian special 'Cornish Clotted Cream' and the masterful programming prowess of 'Gangsta Glitch'. Fans of The Tuss, The Wisp, or Jodey Kendrick should really check this out.
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Mr. One Two - The Lost Country
Latest from Garage boutique L2S. Prime dancefloor cuts.
--- Quote from: Boomkat ---Another debut from L2S records, this time courtesy of Mr One Two. 'The Lost Country' faces Eastwards for melodic inspiration and fuses it with swinging Garage breaks in laidback style. 'Tibetan Bowl' is equally atmospheric, but with a more active 2-step swing and morphed vocals from Blender.
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M2J - Infinity Complex
They released this one just last week. Absolutely killer 2-step raving on the A, with a grime-ier, Terror Danjah-esque B-side, formant'd bassline and all. The best L2S in awhile.
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Sp:mc and Lx One - Down / Judgment
Classically sparse dubstep in the Pinch / Darqwan mold. Almost trip-hop.
--- Quote from: Boomkat ---One of the freshest pairings in purist dubstep deliver lushed-out heavyweights for Tempa. 'Down' takes it back to deep end '06 styles with plummeting subs and suspended halfstep patterns enveloped within widescreen aquatic dub zones. 'Judgement' has a more purposeful dread personality, bowling lethal sub moves under crafty, double time fluctuations with a proper old skool Pinch sensibility. Deep and extra deadly gear.
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Audiofun - Racket
Taut and nervous electro-house, with none of that fuckin' Ed Banger coke'n'leather bullshit. For whatever reason, none of the remixes are identified so you end up with two clutches of three songs with the same name and different sounds.
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Gremino - Ruffness / Silver
The latest from the quietly consistent Car Crash Set imprint, home to Blind Prophet and more. The A-side is a whiplash-inducing stepper cut, the B-side steps up the warped rave influences to near-Raffertie levels.
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Jacques Greene - The Look EP
From Montreal by way of Dublin, Jacques Greene makes heart-touching, foot-moving House in the Tom Trago mode, with a little more in the way of modern synthwork and a remarkably light touch when it comes to gated pads. Pretty great, and fitting with LuckyMe's collective vision.
--- Quote from: Boomkat ---Electro-seared Funky party cuts from Jacques Greene on his debut solo EP. With 'The Look' he joins a enviable list of debut contributions on Lucky Me, Hud Mo, American Men and Nadsroic among them, but brings something quite different to the table. The debonaire bounce of 'The Look' rolls with lazer-guided precision, no sweaty business here, while 'Good Morning' is like some new strain of deeper, introverted electroFunky with Deep House keys and tinted midnight vibes. 'Holdin' On' drops in a canny R&B swinger, with subtle but damn effective edits and seasick synths in the closing stages reminding us of Machinedrum and Praveen's 'Sepalcure EP' and 'Tell Me' keeps the drums loose and woozy while a synaesthetic light show of sublimely layered synths totally captures our attention. Fans of the more refined strains of Deep Teknologi, Cooly G, Kode 9 or L-Vis should be all over this.
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Downliners Sekt - We Make Hits, Not the Public
The Autechre comparisons are apt only in that this is really impeccably produced - the punch of the drums and the buzz of the bass is pretty unbelievable, but it isn't remote or proggy the way Autechre often is. I passed on these guys before and I guess I really shouldn't have. This is what Eskmo would sound like if he wasn't so tangled up in that brostep problem. With Eskmo, James Blake and this, maybe vox direct from the DJ is becoming a new Thing.
--- Quote from: Resident Advisor (4/5) ---We Make Hits, Not the People is the second in a trilogy of physically-released EPs by Downliners Sekt, four tracks exploring the innermost mechanisms of electronic music. Gears grind, pistons slam, exposed circuity enervates by rerouting electricity into explosive dead ends, all that good industrial stuff. Not unlike Raster-Noton's recent output, the fastidiously mechanical music shares certain structural ideas with dubstep. However, the force with which these beats crash and skid on the warehouse floor packs a determined wallop far greater than even the deepest sub-bass caverns of London.
As opposed to the unfriendly "industrial detritus" of preceding EP Hello Lonely, Hold the Nation, Hits feels more structured. Every track carries some sort of vocal melody, presumably sampled from any number of pop or R&B sources. They may be fragmented and occasionally encased in suffocating bulletproof glass, but they're melodies nonetheless. Downliners Sekt don't go about the typical route of dehumanizing androgyny or fashioning the anthemic and triumphant out of snippets, but rather use their siren songs to thicken the dread. On "White Dawn," a disconnected voice tremulously whimpers "I feel so cold"—it's too easy, too obvious and too effective.
"From Under Spinning Lights" starts the EP off with subtle sputters, synths whirring in the background—until the swinging beat finally drops, brutal by anyone's standards. This is painful music. Probing tendrils of electricity snarl and spark, menacingly creeping up the sides. The softly cooing vocals exhorting that "love is real" from somewhere deep within the track's churning chambers are mocking, an ugly approximation of humanity from a hulking mech.
Those electric currents combine with the beats for the startling "Incertia Gloria": Think five Reese basslines playing at once. But just like the previous EP, the final track shows the most progress: the potential energy of "Selfish G" is such that it sounds like the track is compelled to move, a violent thrust that nearly brings it down from within. Horns murmur in the distance and vocals babble meaningless phrases that ride the same unnatural horizontal trajectory; this mechanical beast isn't even pretending to be human anymore. As the track burns itself out, consumed by digital distortion flames, it becomes a question of whether or not Downliners Sekt vision is a dystopian reality or a nightmarish hallucination, but while their beats are playing, the thrilling terror—or awe—they inspire renders such matters meaningless.
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The Drop / C.R.S.T - Looking to the Sky: The Remixes
Went out of my comfort zone and took a chance on this clutch of lite reggae remixes. The results are really hooky and unusually deft, as remix EPs go. Goes down real easy.
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pinkpiche:
I only have one thing for you today. It's okay.
Iceage - New Brigade
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adoom:
--- Quote from: SWOON! at My Gravitas on 03 Jan 2011, 06:09 ---Hey so yeah
Earth - Angels of Darkness, Demons of Light 1 (2011, 192 kbps)
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Thank you very much, you lovely person.
TheClickOfALight:
Can anyone up Rihanna's new album please? Don't think it's anywhere on the old thread...
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